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This link was first posted on Google Groups ("rec.music.classical.recordings") a couple of days ago. Although any piece of information funneled through Norman Lebrecht is automatically suspect in my book, this account by Aaron Rosand really does have a ring of truth to it, especially in view of similar accounts by Earl Wild and others. Isaac Stern, the great statesman (From Mao to Mozart) who restarted classical music in China (not!), seems to be revealed as the slime bag that he was. (Check out the huge number of corroborating posts at the end of the article too.)
Edits: 07/09/14Follow Ups:
TIA
Warmest
Tim Bailey
Skeptical Measurer & Audio Scrounger
I just discovered that my e-mail choice here was changed to "does not accept e-mail". I don't know how long the status has been like this, but I'll change it back (to "accept e-mail from inmates") in a couple of minutes - and Tim, I'll contact you directly. Thanks for the heads up!
It's been a while since we had such a good name calling dustup like this.
I really disliked the muckraking tone of every "article" on that site. It was not journalism but hearsay (with gross grammatical errors thrown in).
Anyway, none of this stuff appears to have been fact checked by a professional.
Moreover, the gossipy, negative tone of all the "articles" really does a disservice to music and any one interested in music.
I qualified my comments in my OP by saying that I normally do not trust anything that has filtered through the slime screen that is Norman Lebrecht. However, Rosand's post is in line with many other accounts I've heard and read, so in the end, I'm inclined to trust this particular article. (To me, the grammatical errors are neither here nor there.)
"To me, the grammatical errors are neither here nor there."
The relevant point is that those "journalists" who cannot bother to spell check, cannot bother to fact check either.
Merely presenting rumor as fact undermines legitimate (music) journalism.
I spent 20 years as a trial lawyer, so there is no need to lecture me on the rules of evidence. I am retelling old hearsay. So sue me! This was in the context of Stern's doing a master class at a festival somewhere like Aspen or Vail.
And I am sure that (assuming that report was true) Stern was not the only famous musician who believed that he was entitled to "droit du seigneur" with regard to female students.
I always thought that he played like a pig, but I could also understand why unsophisticated listeners who thought they were sophisticated would enjoy the show.
Back in the day, I thought that Stern was not worthy of turning pages for Joseph Fuchs, but, Stern was an "A" list player and Fuchs was a "D" list player, and the Philistines who glom onto the levers of power in local orchestras judge musicians by how large their fee is.
How sad.
And I don't think that Rosand is being a weasel. Stern had a fearsome reputation and all the media from Stereo Review (cover story) to NYT (daily sycophancy) would have defended Stern without the need to bother with facts.
What if in 1962, Mimi Beardsley tried telling a journalist that JFK had committed statutory rape on her? Hmm? Coverage of that was not too likely, true as it was (in DC in 1962, the age of consent was over Mimi's age of 19; provincial Bostonian JFK doubtless thought he was in the clear having sex with a teenager the first day they met because she was over 18.)
So, some people make deathbed confessions and other people make deathbed accusations (I have no special knowledge as to Rosand's health). Get used to it.
NB, the opinions I express here are ENTIRELY my own and the fact I assert comes from an old chum I have never worked with professionally, and I have not discussed this kerfuffle with Drs Rosen and Delmoni or anyone else whose name I may be associated with in the public eye.
JM
but I could also understand why unsophisticated listeners who thought they were sophisticated would enjoy the show."
Wow. Condescension defined.
Truly a sad spectacle. A self-admitted attorney trying, convicting, and executing--- all on hearsay.
There are about 35 enumerated exceptions to the hearsay rule in the Federal Rules of Evidence.
Hearsay rocks!
jm
"Plays like a pig" is a bit strong in my opinion, John. Even Aaron Rosand, who is a nice guy (a close friend of mine is studying with him now, and I've met him socially) but is very bitter about how he was treated, doesn't go that far. You probably have heard that Vivaldi double concerto with Stern and David Oistrakh on Columbia (with Ormandy and the Philadelphia Orchestra) and Oistrakh's superiority is evident, but then there is a video of Oistrakh playing the Bach double with Menuhin, and Menuhin doesn't fare well in comparison either. Really, you may not like Heifetz, but you must admit Oistrakh and Milstein were ahead of everyone else, not just Stern.
Stern was a very fine violinist whose technique progressively deteriorated as he aged (but didn't retire), and didn't deserve to completely dominate the New York and even the American violin scene as he did due to his powerful connections, especially after Heifetz essentially retired in the late 50s. But that's showbiz.
I do remember the Oistrakh recording and perhaps unfairly believed that sharing a platform with King David upped Stern's game in terms of technique and reined in Stern's willful interpretating.
I was particularly thinking of a Sibelius concerto LP from the late 1970s that Stereo Review said was the cat's pajamas but which I found to be comically ham-handed.
Oy, do I have to go into rehab now?
As far as Menuhin goes, I think that an entire monograph could be written about the various kinds of technical problems he had. But my controversial claim is that after a certain point (my guess is, either after his first marriage or after his divorce), Menuhin subconsciously simply did not want to play the violin any more. So in order to draw a downbow, he had to overcome in a physical sense a degree of involuntary muscle paralysis that was the outward manifestation of his inner disinclination.
Perhaps he could not admit his real feelings to himself, and perhaps he really needed the money to support his lifestyle. But the more he went on, the more obvious that "catch and overcome" at the start of many phrases became.
As far as I can tell, Menuhin was a near saint, and I cannot imagine him abusing his position as a teacher to gain sexual advantage over a young woman. Menuhin's Brahms from Switzerland is one for the ages, and there is a wonderful YT of a Brahms rehearsal with Celi.
Note the RFT "eyeball" microphone that was the ancestor of Neumann/Telefunken LDCs.
ATB,
John
jm
Yes, I think Stern knew he was privileged to be recording with King David and had to play respectfully. The Stern Istomin Rose Archduke Trio is another favorite of mine, but very few of Stern's numerous other records are among my favorites. And I own many.
Another side note: Stern struck up a close professional and personal relationship with Jean-Pierre Rampal. Now Rampal was also known to be very friendly with his young female students and any number of other beautiful young women who happened his way. But he also went to great lengths to promote the careers of other flutists all over the world, including his contemporaries, younger colleagues and students, male and female. Rather than seeing them as competition, he felt that the more audiences became interested in flute music and good music in general, the better for everyone.
Rampal also continued to perform well past his prime, and he did record absolutely everything written for the flute, including a fair amount commissioned by and/or written for him. But he didn't do it at the expense of any other flutist. And he built his solo career through hard work and at first his own money. His father was a well-respected flutist in France and with his help and contacts Rampal could easily have had a comfortable career in an orchestra chair. But he earned his international solo career, which is a very different thing.
Yehudi Menuhin was a great man by all accounts, I certainly did not mean to imply otherwise.
(imho, of course) an even greater performance by Cortot, Thibaud and Casals.
Jeremy
women younger than themselves? What a strange American tradition of Puritanism that attitude exposes. Or is it just envy?
And what an insult to young women: are they not able to determine for themselves with whom they'd like to carouse or must they submit their desires beforehand to aging male judges?
Next up: outrage that rock musicians bed groupies! Oh, my, how can they!
Myself, I'm outraged that young women throw themselves at the successful instead of young couch surfistas.
...with Woody Allen's private life?
I mentioned Rampal's reputation as a (married) ladies' man, (in his autobiography he also basically admitted to fooling around with married women in his younger, single days, in addition to professional ladies of the evening), but I don't have a strong opinion about it either way. His wife and children seem to have been devoted to him anyway, and he to them.
Heck, this seems to be a French thing, and who is to say they don't have a better approach. At former French President Mitterand's public funeral, on one side of the casket stood his first family (wife and children) on the other his second (mistress and children). They accept the situation and move on.
mired in Puritanical mores (okay, some Brits might be shocked) except this one.
Personal observation: when in my forties, I held a leadership position in a small concern. Over several years, more than a few younger female employees were very friendly, some too much so for professionalism. When I was in my 20s and 30s, and somewhat less common looking, I excited little or no such general interest.
Make of that what you will, but I always checked it off to corroboration of the commonality that power attracts women.
nt
One shot at a dead violinist and the second at a dead President.
While I've never been a fan of Stern's playing, I'm not sure I agree 100% with Chris below "Henryk Szeryng was a thousand times the violinist Stern was", I'd say closer to a hundred times better.
Who was at the same time struggling to stand on the backup limousine's jump seat and move the safety lever of an already-cocked AR-15 he was raising, on the impression that at least one shot had come from the front, while compulsively grasping the trigger.
THAT is why the Secret Service drew their guns on the Dallas County Coroner, and made sure that there was no autopsy that was not under Federal (White House) control.
And if your logic holds, why don't we declare Richard Nixon the Greatest of All Presidents, better than Washington and Lincoln Combined?
ATB
jm
I always thought it was Hoffa who was dressed in drag to be seen fifth one down from the plaza in the pink dress with the "umbrella" raised to his shoulder.
Rosand, not Stern.
All you really need to know is that he waited for Stern to die before leveling his accusations.
The comments smack very heavily of envy, don't they? And like many such assaults, they speak more to the author than the subject, " Boohoo, if bad ol' Isaac wouldn't have interfered, who knows how great I could have been?"
Stern (like Menuhin) may not have had virtuoso technique (a choice, perhaps, to be more musical than technical?), but he certainly had an individuality of sound missing from so many of today's robotic performers.
Stern also had a dimension missing from many of his perhaps superior colleagues: his range. His chamber music and small piece recordings are highly rated, at least two winning Grammy awards. Add to that the fact that many of the key musicians of his day, including Rostropovich and Oistrakh, enjoyed joining him and you realize he wasn't a journeyman. His reputation was very high among his contemporaries---- I'll let them speak to the man, not some also-ran lashing out in his dotage.
You try to portray Rosand as waiting for Stern to die before leveling his accusations. If that's the case, why did he wait for 14 years? For maximum effect? Sure!
You also blithely ignore all the corroborating posts at the end of the article. You also ignore the accounts of Earl Wild and Erick Friedmann in their memoirs.
As for his playing, did anyone of any competence feel that Stern had this individual sound you contend he had? I notice you pick a characteristic that's highly subjective in any case. Where's your corroboration? Or is it just you with your inexperienced "insights"?
You say today's performers are "robotic", but you're not even well enough acquainted with the playing of today's performers, and you couldn't even define what constitutes "robotic", or which performer in which part of which piece plays robotically (or even describe the characteristics well enough). All you have is this lame assertion that playing must have been better by the big (i.e., heavily promoted) names of the past.
You're easily impressed by Grammy awards, and you're so naïve that you think Stern had more of a range than other violinists (as if other violinists don't play chamber music too?). Your naïvete also shows in your careless confusion as to what might have been said for political or other motives (on the part of Rostropovich or Oistrakh - yeah, they were really free to speak their minds, weren't they?) with your notion of "enjoyment".
You say Stern's reputation is high among his colleagues - sure, I can see he's got a high reputation among those he pulled strings for. (And BTW, nothing wrong with that.) But which colleagues did you have in mind? Like you, they're probably in their dotage too. All you have is callow assertions.
returning insults, feeling it's your way of avoiding discussion.
Stern may not have been the greatest of violinists, but he was in no way the midget you ridiculously argue. I own no recordings of his, preferring many others violinists. Do you realize how silly you sound? You would say Stern was such a powerful figure that critics, producers, label owners, impresarios, fellow musicians (you're not quite so desperate as to argue that those he paired with in trios and quartets were second-raters, are you?) AND the public all were cowed into admiring his playing. You and a relatively few folks are the authorities!
Chris, a man that waits until a man dies before he attacks is a coward. And worse, because he attempts to assassinate something more important than a man's life--- his reputation. I have no interest in those that pile on: envy is a powerful thing.
Everyday, I hear new musicians' recordings played on my local classical station; I also listen to a Portland one whenever I'm up there. Very few times have I heard a familiar piece played by newer musicians that makes me think, "Hmmm, I must have it!"
I mentioned the Grammy awards not because I particularly care for them, but to point out that my views are not singular. I pointed out Stern's variety of music to point out not just that, but to show other musicians--- that could certainly pick their companions since they were of equal stature--- willingly joined him.
Chris, your enthusiasm for modern musicians and musicianship is amazing, but I'm afraid your opinions are as credible as those found in those newspaper inserts about local restaurants. Your lack of discrimination and bombast is entertaining; I hope you continue to post them.
So you're insulted by my reply to your post? Well, in the words of that same post, "Boo Hoo!"
However, I'll admit that some of my rhetoric was over the top. And in fact, I spent the earlier part of today re-listening to some of Stern's recordings on Spotify. (Like you, I own no recordings of Stern myself, although the first recording I ever owned of the Beethoven Concerto was in fact Stern/Bernstein.) What I heard surprised me - along with the Schlamperei I remembered in the last movement of the Dvorak Concerto with Ormandy (a quality I noticed when I first heard this recording as a kid), there was also an in-concert Lucerne Festival recording from 1958 of the Tchaikovsky Concerto with Maazel on the Audite label, a performance that was full of energy and fire (and technically good too!), at least in the last movement (with the cuts). Very impressive indeed! So, I was wrong to say that Szeryng was a thousand times better than Stern. Maybe he was only ten times better!
Or let's talk about someone today like James Ehnes. He has nowhere near the reputation or power that Stern had. And yet, I dare anyone to compare Ehnes with Stern in the Dvorak concerto and tell me that Ehnes is not the superior player, both artistically and technically. And now, with the democratization and training levels which have infused the players of even the third-tier orchestras of today, Ehnes doesn't lose much of anything by being accompanied by the BBC Orchestra rather than the Philadelphia Orchestra, and the engineering support he receives from Chandos leaves those old Columbia recordings from the 60's in the dust. (J-Fi also has a recent recording of this piece too - I haven't heard it, but I'd bet the situation is similar with her Decca recording.)
Really, I'm not arguing that Stern was a midget - as I suggest above, he had his moments. Overall, his career was, with its long, slow descent into mediocrity, still one of modest accomplishment, by which I mean that no how, no way could he be picked out for any special quality from a large number of other violinists of his time or our time. He was fortunate however that his reputation became established when the number of outlets from a musician to his/her public (aside from concerts themselves) was very constrained. One recorded for RCA, Columbia, EMI, Decca, Philips, or DG and that was that. Otherwise, with a couple of exceptions (Mercury, Command Classics, Everest), you received markedly inferior engineering, marketing and orchestral support, and you became pegged as a second-tier performer, whether or not that reputation was at all deserved. (I remember one of the singers, either Suzanne Summerville or Grace de la Cruz, on the old Vox recording of Dvorak's Stabat Mater recalling that that recording was made in mid-winter, with the temperature inside the unheated church barely over freezing! Those are the conditions some of these artists had to contend with on the non-major labels!) Eventually, the situation takes on its own inertia and you can't escape it - in fact, the only musician I know of who did escape this inertial force was Alfred Brendel (the exception which proves the rule!). On the other side, once you attained a contract with major management and recording company, it was hard to do wrong. I remember being struck at how unctuous many critics were towards Piatigorsky in his last few years, praising him to the skies, while his intonation had become atrocious. Inertia can carry you far in either direction. So it's not at all a question of the public being "cowed" into admiring someone's playing - it's the association with first class marketing, engineering, and support.
BTW, you accuse those who commented at the end of Rosand's article of "envy". I call it corroboration, as I think most other rational folks would.
Your anecdote about hearing performances on the radio and not being "grabbed" may speak more to your powers of concentration than to the innate quality of the performances themselves, I wouldn't pretend to know.
Regarding the Grammy awards, you ARE aware of the fact that the vast majority of voters at the time when Stern won his awards didn't have anything to do with classical music, aren't you? (The voters can vote in up to 20 genres, whether they know anything about those genres or not!). So, sure, your views are not singular, but what's the knowledge level of those who agree with you?
And, Tin, don't worry: despite our little tiff in the here and now, I'm still one of your most devoted fans! ;-)
^%^O.
I'm skipping it, Chris. Be concise or ignored.
It's so obvious from your posting history: you're just starstruck by THE BIG NAMES - they can do no wrong. The actual situation is quite a bit more complex than that.
But you can prove me wrong! Just post some of your fave NON-BIG-NAME musicians.
But wait! The floodgates have opened and all envy mongers are coming out of the woodwork! (See my new thread about to appear in another few minutes.)
I'm thinking just anyone who is alive and kicking aside from Perlman. Now what constitutes a big name? I have to admit my favs are what I would consider big names. Shaham, Kavakos, Nadja....Aren't they big names? I now realize that they are all robots. Thank you for that Tin...
We've known it for years. ;-)
I mean, if he had just said, "Well, I still like Stern's recordings!" (similar to what Rick and others have said), I wouldn't have a problem. Everybody's entitled to his own opinion. But instead, he tries to use his opinion to brow beat a whole category of musicians (i.e., present-day violinists) that he knows nothing about - at least as evidenced from his previous posts.
Taste is subjective, not necessarily learned--- though education to develop it is a prerequisite.
Your base and aggressive rudeness is striking; in my original post, I said not one thing that was of a personal nature.
You (I forgive Ivan because, well, he's Ivan, former whipping boy of the Outside) like to appear some sort of happy-go-lucky, flamboyant appreciator of feminine wiles and skills--- but your real personality isn't really that, is it?
Yes, I do find the overwhelming number of soloists I've heard to be unimaginative, uninteresting, and derivative. I don't make a point of remembering the names of mediocrities. Unlike you, I don't care a whit what a musicians' appearance is.
Edits: 07/11/14 07/11/14 07/11/14
plus troll a lot.
EVERYTHING is possible.
Still angry from the public humiliations you suffered Outside, eh?
Ivan, move on. I picture a fat old guy, sweating behind a keyboard, nursing long held grudges, occasionally rising from a soiled and sticky seat to waddle to a filthy refrigerator.
Right or not?
Hatred will kill you.
Sniffle...
when he states "I could also understand why unsophisticated listeners who thought they were sophisticated would enjoy the show." ;-)
And lets get serious about Szeryng. No way he was a thousand times the violinist Stern was, I'd say closer to a hundred time and that's about it.
And it some if not all of the repertoire(Brahms), I prefer Szeryng to Heifetz. =:-0
However, my respect for Heifetz has increased over the years. I understand that both fiddlers (Szeryng and Heifetz) were very adept at the piano too. And having played some of the Heifetz Gershwin arrangements, I have really come to appreciate how clever they are and how knowledgeable about the piano's capabilities Heifetz was.
(OK, maybe I overstated it when I said Szeryng was a thousand times better than Stern!)
Another of my favorites.
Legend has it that Grumiaux and Haskil would, on occasion, switch instruments.
I also like it that when Szeryng and Haebler entertained guests with Mozart and Beethoven sonatas at private functions, they both played from memory.
the Mozarts and the Beethovens, they are, for me, without peers.
Jeremy
Szeryng was only 99 times better than Stern.
Watch it.
"If people don't want to come, nothing will stop them" - Sol Hurok
I'd heard some of these accusations against Stern mentioned by Earl Wild and others. For me, though, the most interesting part of the article by Lebrecht was the link to youtube clips of Rosand's playing. I'd never heard him before, and I enjoyed listening to the Beethoven sonatas, although there are skips in the transfer to youtube.
. . . was very highly regarded in at least one publication of the time I read (can't remember if it was High Fidelity or Stereo Review). Unfortunately, the Vox label had neither the prestige nor the distribution of the big labels, and their pressings were inferior (although many of the major labels followed within a few years in the "race to the bottom" - Dynaflex, anyone?). I haven't heard any performances from that set myself. One Rosand recording I like is the Rimsky-Korsakov Fantasy on Two Russian Themes, Op. 33, which, I believe, Milstein also used to play. Engineering and orchestra are no great shakes however. (This is also on Vox.)
It's up for streaming on QOBUZ at the usual 16/44.1 lossless FLAC.VoxBox 3 CD set. Qobuz's comments on the set as translated into English by Google Translate:
"Sonatas No. 1-10 / Aaron Rosand, violin - Eileen Flissler, piano (Rec. 1961) It is discreetly that the American violinist (Russian and Polish) is one of the leading soloists of the 20th century. Casals spoke of him as an extraordinary musician with the powerful and expressive that reminded him of his old friend Ysaÿe art. Under the baton of conductors such as indisputable Leonard Bernstein, Erich Leinsdorf, Fritz Reiner, Klaus Tennstedt Kyrill Kondrashin or he has performed with the greatest orchestras in the world in the most prestigious venues. These recordings were made in 1961, with a magnificent technique sound that does full justice to the two protagonists - which, in turn, render full justice to the complete sonatas for violin and piano by Beethoven, in a clear reading a real pure conception of interpretation without expressive bidding."
OK!
Edits: 07/10/14
In the old days Heifetz was the star violinist for RCA, Columbia needed two violinists to fight back, Stern and Zino Francescatti, I do not have any strong opinions for Stern but two works that he performed well, in my opinion, were Barber concerto, particularly the slow movement and Baal Shem of Ernest Bloch.
Vahe
Never understood his *art* so far.
His fame is pickled in the Carnegie Hall.
Wagner, Delius, Reiner, Szell, Krips all assholes from what I've read. Who cares?
I somewhat agree, but the linked article (as well as the comments below it) contains numerous new revelations, so the situation with Stern turns out to be even worse than I'd thought.
I guess it's a question as to whether the person's artistry is enough to transcend the turn-offs in their personal conduct in other aspects of life. For me, Wagner and Reiner have that kind of artistry. Stern, not so much. (Speaking of which, have you ever played for George Cleve?)
I knew about the poor estate of Stern's playing in the latter half of his career, but I had always understood that he had been much loved and feted. Apparently he was a jerk. It sounds like he was deeply insecure.
I still love the Barber and all those Stern-Istomin-Rose Trio recordings, though.
I heard Stern on Jack Benny's Show playing VERY Live, it was good.
So he fussed over his recordings, so what?
It's intersting that the MIles Davis Bashing is right next to the Isaac Stern Bashing.
Too many deaf, ignorant Listeners out there for my taste!
Luckily, they don't control the music and recording Worlds.
Although the modestly accomplished quality of Stern's playing was touched on in the article and the comments, the main point was that he was a vindictive SOB with a unquenchable thirst for power over others.
Seems like you're being pretty vindictive yourself.
. . . between being HEAVILY PROMOTED and being a consummate artist.
Henryk Szeryng was a thousand times the violinist Stern was, and yet Stern tried to get Hurok to drop him. Stern was a little weasel, no matter how many recordings he made.
BTW, I don't see how saying someone is "modestly accomplished" is being vindictive. GMAB indeed!
I've been a professional musician for over 40 years. I don't lessons from you about the music biz. It ain't like I've never worked with/for asshole leaders and/or soloists. But I don't let my feelings about their personalities or machinations color my judgment regarding their playing/composing/singing.
No doubt there were/are violinists equal to and better than Stern that have received little notice. So what? Hardly news in the music biz, and it doesn't mean Stern was merely "modestly accomplished".
Rick -- I think we can all agree that Isaac Stern was a great violinist. (Duh.) It is also true imho that he and many other great violinists continued to perform in public well after they were past their prime. I suspect those days are over given the modern fetish for technical perfection.
But what also seems to be true, and I've heard it from sources in addition to Aaron Rosand, is that Stern used his impressive network of wealthy and powerful contacts to interfere with the careers of younger up and coming American violinists whom he saw as competitors. I think that is the main point Chris is trying to make. Erick Friedman is another example. Interesting to read that Rosand wisely decided that going to Moscow to compete in the Tchiakovsky competition would be a bad idea because he would have no chance of winning. Friedman did compete, against the advice of his teacher Heifetz, and finished something like 6th. Anyway, Rosand and Friedman are well worth checking out on record.
Playing past your prime is common. Musicians don't wanna stop playing/performing, and in some ways that's a good thing and helps keep musicians "young". OTOH some of my "idols" in jazz continued playing/performing/recording so far past their prime that it made me sad to hear them.
Perhaps that happened with Stern. But the recordings of his I own were made when he was still playing his ass off, and IMO he had a great sound. Referring to Stern's playing when he was in his prime as "modestly accomplished" just seems silly to me. I said zilch about his machinations.
"I don't let my feelings about their personalities or machinations color my judgment regarding their playing/composing/singing."
I don't either, if their artistry is compelling enough. And, looking over Stern's career as a whole, I still say that "modestly accomplished" fits the bill pretty well.
nt
. . . with my "You need to learn. . . " post. My wife says I have a talent for pushing people's buttons! ;-)
Well, when you're a pianist you do press things with your fingers a lot....... must get to be a habit.
Stay off the accordeon!
Streaming now.
This is just a minor skeleton in the closet of classical music, although I am sure the targets of his disdain might not agree. But at least, to my knowledge, he was not a known pedophile.
"Life without music is a mistake" (Nietzsche)
I hear you.
"If people don't want to come, nothing will stop them" - Sol Hurok
Karma, I guess.
Bartok, Berg, come to mind.
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